Da den kinesiske immigrant Cheng Huan flytter til London for at udbrede buddhismen, bliver han overrasket over den beklagelige intolerance i det indre af byen. Men Huan bukker under for sit miljø; missionsdrømen bliver til ligegyldighed, indtil han finder den voldsramte Lucy Burrows på sit dørtrin.
Denne film spiller ikke i øjeblikket på MUBI, men 30 andre gode film gør. Se hvad der vises nu
It's a film ultimately about tolerance (albeit made in the most intolerant way possible) and if you can get past the awfulness that is the yellow face, it's actually a lovely little film that still remains a masterwork by one of the most controversial and innovative masters!
The utopia of cinema as a universal language, an art form reaching every corner of the world now lies broken in pieces. Birth of a Nation, after first seeming like a blessing, would become the director's curse, who would spend the rest of his career correcting his past sins. The world is a tragedy, there are no more deus ex machinas. Lillian and David have never been so miserable.
Excellent Gish, solid Griffith. Griffith made films I consider to be tech better (Way Down East, Intolerance) but one cant really deny this is probably his most moving, given the subject matter of domestic violence and reevaluating one's faith. Gish gives perhaps her best performance outside of The Wind, which is an unbelievable film. Griffith made some undeniable early classics, best American silent director? 4.5
I don't see the racism in here: it was the Yellow peril years, and Griffith made the good be represented by the chinese character (what's the problem in the actor beeing not-asian?). It's quite brutal, and sweet, and like always is a delight watch Gish in this type of characters.
Cinematography by G. W. Bitzer. "Desire" list: It may seem strange that before one of the cinematic summits of the last century and one of the great Lillian Gish peaks, i come to pick it via Richard Barthlemess, but it is also the film in which he surpassed himself, a Hollywood figure of a Chinese who became an unique object-representation of the most absolute male poeticity.
To my mind, Griffith's vision of tragic romance hasn't been bettered in American cinema. He extracts so much genuine emotion out of a hoary concept and stagey mise en scene; the absolute sincerity of the players overwhelms the formal stiffness and Griffithian sentimentality. There are no jerked tears, but lots of genuine ones. Only the modern sequence in Intolerance matches this.